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Gryffin clears the air about Ultra Miami livestream audio mishap
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Andrew Dum’s edit blends the mystical and timeless essence of the original with the deep, rhythmic soul of Afro House. The result is a magical fusion of past and present.
“‘Les Djinns’ is a track that has always inspired me deeply. I felt now was the right time to bring it back—this time with my own rhythm and vision. I hope everyone feels the same energy and depth I did when I first discovered it,” says Andrew Dum.
With rolling percussion, deep basslines, and atmospheric layers, his remix transforms “Les Djinns” into an entirely new experience—one that balances emotional depth with dancefloor-ready grooves.
“Les Djinns” by Andrew Dum is out now on all streaming platforms. Dive into the deep and refreshing new take on this legendary track.
Hailing from Romania, Andrew Dum is a talented DJ and producer set to play major festivals this summer, including the world-renowned UNTOLD Festival. His worldwide tour dates will be announced soon.
With viral tracks like “Cruel Summer,” “Paradise,” and “Valle de L’Armes” (with Chocolate Puma), and over 60 million streams, Andrew is quickly becoming a global force in electronic music. His first major release of 2025, “Glamorous”—a reimagined version of Fergie’s hit in collaboration with Eran Hersh under Armada Music—further showcases his unique blend of nostalgic melodies and Afro-inspired rhythms.
Supported by heavyweights like Rüfüs Du Sol, Armin Van Buuren, Martin Garrix, Pete Tong, Chocolate Puma, Blasterjaxx, and many more, Andrew Dum continues to climb the international charts with his distinctive and innovative sound.
Follow Andrew Dum on Socials: https://andrewdum.komi.io
The post Andrew Dum Creates a new Musical Journey with his Remix of the Iconic ‘Les Djinns’ appeared first on EDMNOMAD.
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For those artists and indie labels lucky enough to have multiple funding offers, beatBread now offers a potentially game-changing tool for weighing competing options. Surprisingly, beatBread’s initial results show that most artists and indie labels (60%) would likely sign a sub-optimal deal before thoroughly vetting their options.
Once upon a time, music financing was a dark art driven by elusive A&R instinct. These days, thankfully, there’s a lot more data behind funding decisions, and labels (and their distributors) aren’t the only game in town. And while indie labels and artists now have more choices, sorting through what is a good and bad deal is difficult, as terms are complex, hard to understand, and fraught with traps and pitfalls. But 2025 might be the year that artists and indie labels gain a serious upper hand.
Last month, we profiled beatBread’s recently released Deal Comparison Tool, a handy platform for weighing a stack of competing music financing offers. In a nutshell, the Tool allows an artist or indie label to view a number of offers side-by-side and weigh those offers according to a variety of parameters. Just recently, DMN partnered with beatBread to further amplify this newly released platform.
Artists and labels can simultaneously compare up to five offers, analyzing upfront cash, fees, recoupment time, and long-term costs. Even better, it allows artists, indie labels, and IP owners to ‘normalize’ offer metrics, which comes in handy if deals are being extended from labels, distributors, publishers, or investors.
Of course, any artist or label can manually compare offers before deciding. The problem is that there are so many variables to weigh, and headline terms don’t tell you how costs and recoupment will likely play out over time.
‘Headline’ deal terms can mask a deal’s actual costs. And understanding outcomes based on catalog and new release performance is extremely difficult.
“Even the most sophisticated executives are sometimes deceived by ‘headline terms’ in a deal,” beatBread CEO Peter Sinclair relayed. “The Deal Comparison Tool gives artists and labels the chance to cut through the fog and get a true understanding of a deal because it links the key terms of a contract to a real range of probable outcomes as music is released and continues to perform.”
Sinclair is hugely confident about the comparison platform’s power. To put it bluntly, he’s not sure there’s a better tool out there for weighing different offers—online or off—which is exactly the confidence you need to release something of this magnitude. Just a few weeks after its launch, the Tool is being used by a significant number of artists and labels to weigh their funding options.
The strange part is that a majority of those using the Tool have chosen not to work with beatBread.
“If beatBread is only funding four, three, or even two out of ten deals we’re helping to vet, then we’re winning,” Sinclair explained. “Artists or indie labels might choose a beatBread partner or select a deal on a party entirely unaffiliated with beatBread.”
But, according to Sinclair, they know they’re signing the best offer.
“I’d rather beatBread develop a reputation as a straight shooter than try and convince an extra three or four people out of ten to take our deal when it’s not the best deal,” he continued.
Sinclair clarified, however, that this isn’t a self-service tool.
Instead, beatBread has experts to help artists and indie labels visualize the trade-offs between deal structures, including revenue splits, term lengths, and long-run costs. Once everything is laid out, determining the “best deal” depends on various factors and preferences, including the artist or indie labels’ expectation of catalog performance, risk appetite, and need for upfront cash vs. long-term cash flow.
Among the early adopters is Dan Englander, founder of indie label KingUnderground.
“When I came to beatBread, I had what I thought were two quite attractive distribution offers,” Englander said. “After seeing the output of beatBread’s Deal Comparison Tool, I realized there were several scenarios where I could have ended up strapped for cash.”
Englander didn’t end up selecting beatBread’s deal, though he did sign with a beatBread partner, which means beatBread co-invested in the deal alongside its partner.
Sinclair noted that Englander’s situation is not unique. The landscape for music financing presents a number of choices to artists and indie labels, but those choices often have many pitfalls and traps.
“It has become standard industry practice to offer headline terms (nominal term length, total deal value) that simply do not reflect how a deal is likely to play out in the real world,” Sinclair added.
“In the worst cases, beatBread’s beta test showed that some independent labels would most likely end up forced into a distress sale after a few years had they taken the seemingly best distribution or label JV offer in front of them.”
“It’s no secret that indie artists and labels have more options than ever,” Sinclair said. “BeatBread’s mission is to help them make the right decision, even if they choose a funding partner other than beatBread.”
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Months after ‘the ban,’ there’s no telling what happens to TikTok next in the US.
After inching oh-so-close to a deal to secure TikTok in the US, China apparently pressed hard pause on the arrangement following Trump’s tariff slap. So what does that mean for the music industry?
If you love uncertainty, this one’s for you. Trump is now extending the ban by another 75 days, though a hard clock is now ticking on a deal that was apparently 99% done. Congressional pushback on the ‘phase 2 extension’ is already happening, and Apple is seeking White House assurance that the app can remain on its App Store.
This slow-motion cookie crumble could go in any direction. Among the possibilities within the next 30 days: TikTok shutting down for good or continuing business-as-usual — or, potentially, some insane variation in the middle.
Last we checked, TikTok is available on both the iOS App Store and Google Play Store, though this situation is volatile. And certainly not a recipe for crafting stellar, long-term artist marketing campaigns — or advertising campaigns, for that matter.
Most music folks are smartly spreading their marketing efforts across the gamut of social media giants, with IG Reels and Shorts getting a nice stability bump. That said, as long as TikTok is ticking, it has the power to blow stuff up — including entire artist careers and dusty catalog tracks.
While the over-under on TikTok’s survival has gone haywire, some executive ship-jumping is worth noting — particularly TikTok Music ex-honcho Ole Obermann, who recently packed his bags for Apple Music. And he’s not the only one potentially pondering the writing on the wall.
Meanwhile, other platforms continue to seize the moment. On that note: what major social media platform just inked a broad-reaching deal with major music publishers? (Hint: the first letter isn’t ‘X’…)
On a broader note, few in the music business seem to be rooting for TikTok’s survival.
It’s not that TikTok isn’t making some effort to play nice with the music business. Just last week, for example, TikTok was among the supporting sponsors at the National Music Publishers’ Association (NMPA) golf classic and fire relief efforts in Los Angeles. But for the most part, the vibe within the music industry isn’t warmly supportive, to say the least.
TikTok famously refused to reasonably compensate rights owners until absolutely forced, with the aforementioned Obermann battling it out with Universal Music Group for weeks before a deal was hammered out. Indies are also understandably cool on this low-paying platform, though TikTok’s marketing muscle is certainly potent — especially if the viral fairy gods tap your shoulder.
Then again, that’s the aspiration for rivals like Reels and Shorts, among others. And we get the sense that witnessing a heavy door slamming on TikTok’s derriere would be oh-so-satisfying for many industry folks.
Guess everyone’s replaceable — and let’s face it, life will go on in the music industry, with or without TikTok USA playing a role in it.
More as this develops.
Got a juicy tip? Hit me up at [email protected] or Signal (@digitalmusicnews.07).
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Amazon Music is once again the exclusive livestream partner for Goldenvoice’s Stagecoach festival. This year’s sold-out festival is taking place April 25-27 in Indio, California.
Fans from around the world will be able to enjoy sets from country music’s biggest artists from the comfort of their own homes, including riveting sets from artists like Zach Bryan, Jelly Roll, Luke Combs, Lana Del Rey, Carly Pearce, Brothers Osborne, Nelly, Creed, Dasha, Sturgill Simpson, Backstreet Boys, Midland, T-Pain, Tigirlily Gold, Scotty McCreery, and many more.
The livestream will be available on Twitch, Prime Video, and the Amazon Music app slated for a 4 pm PT start each day. Fans will be able to stream two separate channels, each featuring different artists, allowing viewers to curate their own Stagecoach viewing experience.
The Stagecoach livestream will be hosted by Kelly Sutton and Amber Anderson of the Country Heat Weekly podcast. The hosts will chat with some of the iconic festival’s hottest artists from the exclusive Amazon Music backstage set to preview the exciting performances fans can expect to see throughout the weekend.
For the first time, Amazon Music will be immediately rebroadcasting the festival each day for fans of country music outside of the US. Starting at 7 am GMT April 26-28, country music fans will be able to watch a full rebroadcast of the livestream from the previous day.
Customers will also be able to brouse the ‘Festival Shop’—a one-stop destination showcasing an unrivaled selection of music festival essentials on Amazon. Customers can browse thousands of items—from exclusive Amazon Music artist merch collections to trending festival fashion, essentials, beauty products and more.
Fans can also purchase exclusive merchandise from Stagecoach headliners Zach Bryan, Jelly Roll, and Luke Combs. Select artist merch items will also be available through the Amazon Music app. This move is very similar to YouTube’s deal with Coachella, offering artist merch for sale alongside the livestreams as fans enjoy them.
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All Things Considered (ATC) has acquired a majority interest in Jamie Osman’s Easy Life Entertainment management company and label.
London-headquartered All Things Considered revealed the purchase in a brief release this morning. Per the buyer, which has closed a number of acquisitions during the past year and change, today’s play extends to 11-year-old Easy Life’s management unit (Real Life), namesake label (formerly a Sony Music JV), and PR agency (Turn the Page) alike.
(The formal announcement doesn’t mention Bear Creative or Kingswood Studios, which are said to have operated under the Easy Life Entertainment banner as well.)
On the management side, Real Life’s roster features Mouth Culture, Kids in Glass Houses, and Bears in Trees, according to the appropriate website. Said website displays 13 total clients; only 11 acts are said to be coming aboard All Things Considered, however.
Meanwhile, Easy Life Records’ signed talent includes but isn’t limited to Fatherson, Softcult, and Normandie. The transaction encompasses the label’s north of 300-master catalog, the involved parties noted, identifying as well about £510,000 (currently $650,000) in annual revenue for the overarching Easy Life.
Regarding valuation, ATC pointed to a cash “Net Acquisition consideration” of $956,598/£750,000, calculated “after netting off a post-completion dividend” of $357,124/£280,000 payable to the purchaser.
In a statement, All Things Considered head Adam Driscoll touted the buyout as another step towards solidifying his business’s “position as a fully integrated music company.”
“Jamie is well respected in the industry and brings considerable experience and an extensive network of client and industry relationships,” Driscoll said in part. “The Acquisition adds a meaningful revenue stream to the business through predictable, recurring music royalty income.
“In addition, by expanding our service offering, we have strengthened our ability to support artists at every stage of their careers, further solidifying our position as a fully integrated music company,” concluded the Fuel Music owner.
As mentioned, the play is the latest in a line of deals for the Driift stakeholder All Things Considered, which, via its Sandbag interest, says it handles “all merchandise sales” for ABBA Voyage.
In February 2024, the Familiar Music owner ATC took a 50% stake in concert and festival organizer Mckeown Events, to name one example. May 2024 then saw ATC buy 55% of Raw Power Management, which reps Bullet for My Valentine, The Damned, and The Mars Volta, among others.
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In a city known for its big hair and bigger personalities, the nation's fastest-growing traveling music festival managed to successfully plant its boots in a market long overlooked by the EDM circuit. Breakaway's Dallas debut this past weekend was a big moment for the barnstorming brand, which in late-2024 announced its expansion to six new locations before being named by EDM.com as the year's top event organizer.
Dallas was the first of those new cities. Over 12,000 daily attendees arrived at Fair Park April 5-6, hungry for the experience upon which Breakaway has built its rapidly expanding empire—and free toasted subs from Jimmy John's. They took in performances by headliners Gryffin, SLANDER, Louis The Child, Afrojack and Zedd, the lattermost of whom stole the show with his encyclopedic arsenal of dance anthems.
Zedd closed out the festival's first day with a euphoric spin of "Clarity," a track that refuses to age, continuing to swell hearts and spark singalongs over 12 years after its release.
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His rapturous encore was a microcosm of Breakaway's growing influence. In a landscape where mega-festivals have become synonymous with coastal cities and cultural capitals, the organization has carved out a different path, one rooted in accessibility and regional identity.
What distinguishes Breakaway isn't innovation so much as execution, delivering established festival tropes with remarkable consistency and polish across its dozen markets. Its success lies in that duality, identifying and satisfying historically fringe electronic dance music markets like Atlanta and Grand Rapids, where hip-hop and indie-rock respectively dominate.
The raving community in the Dallas-Fort Worth area had been starving for a large-scale spring EDM festival. Lights All Night doesn't come until the annual ball-drop over New Year's Weekend, and Disco Donnie's Ubbi Dubbi event in April caters to the dubstep and bass music niche, as does Shaquille O'Neal's "Bass All-Stars Festival."
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To that end, the debut of Breakaway Dallas leaned into a communal energy that felt like a reunion of strangers. In fact, the crowd itself told the most compelling story.
"Finally" was the weekend's unofficial mantra. We overheard conversations between sets that revealed genuine gratitude among attendees who had previously traveled to Houston, Austin or even across state lines into Oklahoma for a tried-and-true EDM experience. SILO, which opened in Dallas' Design District in late-2024, has admirably filled the void, but nightclubs can only offer so much.
If this Dallas debut serves as an indicator, Breakaway's festival expansion strategy is just heating up. The brand has identified a genuine need in the market and meets it with competence and flash, proving that you don't need to reinvent the wheel—just make sure its spokes are strong enough to reach the people who need it most.
Follow Breakaway Music Festival:
X: x.com/breakawayfest
Instagram: instagram.com/breakaway
TikTok: tiktok.com/@breakawayfest
Facebook: facebook.com/breakawayfestival
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After close to 11 years at the helm of Danny Wimmer Presents, CEO Danny Hayes has “made the difficult decision to part ways” with the Louder Than Life organizer.
Hayes confirmed his exit in a message posted to LinkedIn as well as Instagram. Despite spanning north of 200 words, the announcement doesn’t shed light on the precise circumstances surrounding his departure from Danny Wimmer Presents, which set sail in 2011.
But as mentioned, the text does describe the decision as “difficult” – indicating as well that Hayes had discussed and finalized the move with the festival promoter’s namesake founder.
“After 10 incredible years,” Hayes wrote, “Wimmer and I have made the difficult decision to part ways. This wasn’t easy, but we both knew the time was right. Wimmer has bought out my shares and will continue leading DWP into the future. I have nothing but love, respect, and appreciation for him, and I know he will continue to do great things.”
In a statement provided to Pollstar, Wimmer was similarly light on details and heavy on praise, noting in part that “[b]reakups are never easy, especially when there’s history and heart involved.” Wimmer also wished Hayes “nothing but success in whatever comes next.”
On this front, Hayes stopped short of confirming the next steps in his career.
“I’ll always be a fan as I prepare for my next adventure,” Hayes proceeded. “I don’t know what that is yet, but I do know that DWP, the fans, the bands, the vendors, the partners, and every single person who has been part of this journey—past and present—has made this an experience I will cherish forever.”
However, the attorney did disclose that his executive assistant, Ashley Shuman, “has already signed on for the next adventure with me.” And in a separate LinkedIn post, Shuman reiterated that this adventure’s particulars aren’t set in stone.
“Moving forward- Hayes and I are no longer with DWP,” Shuman added in part. “DWP will always hold a special place in my heart and I can’t wait to see what the team does next. Hayes and I have worked side by side for the past three years, and while we don’t know exactly what’s next, we’ll figure it out and continue working together.”
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Mexico City’s AXE Ceremonia two-day music festival canceled its second day after a crane collapsed, leaving two people dead.
The canceled Sunday lineup included scheduled performances from Tyler, the Creator, the Marias, and Massive Attack. Festival organizers posted a statement for attendees letting them know of the cancelation. “With deep sadness, we confirm the passing of the two people who were injured during today’s incident,” the statement begins.
“We are deeply heartbroken by this loss. We are reaching out to their families to support them during this incredibly difficult time and to provide them with all our care and solidarity. The safety of our community has always been our priority, and we continue, as from the very beginning, to maintain close collaboration and complete transparency with the authorities.”
Authorities who responded to the incident say a crane that was holding a decorative metallic object was blown over by a heavy wind gust. The crane fell on two people “who received pre-hospital care at the scene, and were later urgently transported to the hospital.” Those two people were later identified as photographers Miguel Angel Rojas and Berenice Giles for Spanish-language media outlet Mr. Indie.
AXE Ceremonia continued its first day festivities after the accident, with performances by Charli XCX and Tomorrow X Together. The closure order appears to come from the Mexico City Mayor’s office.
“The teams from the Miguel Hidalgo Government and Legal Affairs, along with the borough’s Civil Protection Department and the Administrative Verification Institute of Mexico City completed the inspection and placed suspension seals at the entrances to AXE Ceremonia in Bicentennial Park,” the mayor’s office said in a statement. “Therefore, this event on April 6 is suspended.”
Festival organizers confirmed authorities suspended the second day of the festival in their statement. Refunds for the second day will automatically be issued to those in attendance. “We inform you that the activities scheduled for today have been suspended, following the guidelines of the relevant authorities. Our sympathy and support go out to their families and loved ones during this difficult time.”
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With a journey driven by a pure passion for Electronic Music, enthusiastic about its forward progression and his role in its evolution, Alex Kislov continually steps out as a motivated member of the genre’s creative community. This time, he emerges not only to expand his discography with new music but also to highlight his own tastes, shining a spotlight on talented artists that inspire his own creativity and celebrating those making waves within the genre.
When speaking on this new body of work, Alex Kislov mentions:
“‘Dream Sequence: The Remixes is a beautiful re-interpretation of the album by some of my favorite producers and artists. It was a way to reignite a sequence of dreams, but this time from a different angle.”
Delivering a total of ten reworks, ‘Dream Sequence: The Remixes’ unfolds into a compelling journey for any fan of Electronic Music to enjoy. Bringing in substyles from across the genre, including Afro House, Progressive House, Tech House, Future Bass, and Melodic Techno, the album explores the breadth of the Electronic Music landscape, giving way to diverse sounds as each remixer brings their own distinct identity to the project.
Regarding the inspiration behind this body of work, Alex Kislov explains:
“This project came to be when I finished my album and received feedback from some of my Producer friends. One of them actually asked to do a remix, and that stemmed the entire idea of launching a full album of remixes of the project.”
With talents like Terry Golden, RJ Pickens, Arvi Mala, COFRESI, Mattheo, Side Project, Ivano Lima, Xeibo, and John Lyn included in the lineup, the album crafts tracks that will surely resonate on the dancefloor and beyond, weaving through soundscapes detailed with hard-hitting beats, uplifting melodic lines, driving basslines and atmospheric textures. From the punchy sound of Terry Golden’s rework of ‘Nocturne,’ integrating elevating risers, hypnotic leads, and interwoven synth work, to the dark energy of Arvi Mala’s take on ‘Tales,’ with its sharp rhythms, moody bassline, and futuristic-sounding synth hits, listeners can experience a fusion of styles in ‘Dream Sequence: The Remixes,’ where each production adds depth and a refreshing dynamic to the Alex Kislov original.
For Alex Kislov, this release holds special significance:
“I am so excited for this album / EP to come right in time for Miami Music Week! It has so much soul and vibe to it, each artist really captured the essence of the theme of the album and took one track from the album and made it their own.”
Filled with energy, forward-thinking sounds, and diverse approaches, dive into Alex Kislov’s ‘Dream Sequence: The Remixes’ to explore a reimagined sonic journey that highlights both the evolution of the album and the artistry of its collaborators.
With his journey continuing to bring exciting moments, make sure to keep up with Alex Kislov via social media as this no doubt marks just another step in his evolution, sure to see him exploring new creative pursuits next and deliver more innovative music to his fans.
‘Dream Sequence: The Remixes’ is out now via AK & Friends and is available to stream and download across platforms.
Listen and Buy ‘Dream Sequence: The Remixes’ Now:
Alex Kislov Online
Spotify | Instagram | Beatport
Terry Golden Online
Beatport | Instagram | Spotify
RJ Pickens Online
Instagram | Soundcloud
Arvi Mala Online
Instagram | Spotify
COFRESI Online
Instagram | Spotify
Mattheo Online
Instagram | Soundcloud
Side Project Online
Instagram |Spotify
Ivano Lima Online
Instagram | Soundcloud
Xeibo Online
Instagram | Soundcloud
John Lyn Online
Instagram | Spotify
Orville Kline Online
Instagram | Spotify
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Following a string of powerful releases that have earned him support from industry heavyweights such as Camelphat, Benny Benassi, and David Guetta, Terry Golden remains a driving force in the Electronic music scene. His dedication to pushing boundaries is evident in ‘Walk Like An Egyptian,’ as he weaves together intricate layers of sound, uplifting harmonies, and pulsating rhythms to create an electrifying listening experience.
From the first beat, ‘Walk Like An Egyptian’ sets the stage with a signature Terry Golden lead synth, cutting through the mix with a unique intensity; the track builds with an energetic bassline and rhythmic drive, leading to a drop that unleashes its full power, a moment designed for the height of a DJ set.
Layered with wobbling and stuttering synth lines, dynamic risers, and textural elements, the track evolves through an intricate interplay of melody and energy, and the fusion of uplifting yet powerful sonic elements ensures that ‘Walk Like An Egyptian’ is as captivating on a festival mainstage as it is in a club setting.
With releases on respected labels such as Iconyc, Sirup Music, and Black Hole Recordings, Terry Golden has continuously proven his ability to craft music that resonates with both fans and industry tastemakers. His distinct style, marked by its progressive energy, melodic depth, and forward-thinking production techniques, solidifies his place among the most exciting rising Producers in Electronic music scene.
‘Walk Like An Egyptian’ showcases Terry Golden’s dedication to crafting powerful, high-energy music, reinforcing his reputation as a producer with a distinct and evolving sound. With each release, he continues to push his creative boundaries, further shaping his identity and artistic evolution.
Be sure to listen to ‘Walk Like An Egyptian’ and stay connected with Terry Golden as he continues to unveil new music and exciting projects.
‘Walk Like An Egyptian’ is out now via Exx Underground and it’s available on all major streaming platforms.
Listen and Buy ‘Walk Like An Egyptian’ Now:
Terry Golden Online
Website | Instagram | Spotify
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If you had to pick one track from the EP that stretched you the most as an artist, which one would it be and why?
Hey, EDM House Network. Great to be back after a couple of years! I was originally going to say “Our Goodbye,” because it went through two versions and it is one of the oldest tracks BUT I’d probably have to go with “Coming Home (I.M.U).” It stretched me because I had to incorporate my post-EDM sound in a way that the track didn’t just play as a typical progressive house track. It also took a year to find the right vocal, cost a good amount of time in the studio managing the low end, and was a learning experience in collaborating with people.
You’ve drawn from everything, Motown, rock, progressive house. Is there a sound or genre you haven’t tapped into yet but really want to experiment with?
I’ve sort of dug into bass house already with my remix of “Acrobatic” by SIDEPIECE on SoundCloud, but would like to do that more. I want to combine more harmonic and melodic elements into it, especially from the “color” genres of color bass or color house. I also am always intrigued by hyperpop and trying to invest that into productions as well.
“Coming Home (I.M.U)” was born in a hectic period of shows and touring. Do you find that live performances fuel your creativity, or do you need quiet studio time to really lock in?
I’d say, for me now, shows 7 times out of 10 show the results of your productions and how people respond to them – rather than bringing about any production-based inspiration. It’s rare shows ever inspire production. However, I think playing OTHER people’s music and seeing how people respond to it is, on a side note, one of the unique values in the craft of DJing – but also a way to see what makes people move and feel in the market as it comes time to return to the studio for the ideation process.
I think the traditional album cycle of record companies exists for a reason, not just for there to be time to create – but to also tour, promote music and let that music marinade with audiences. A show every once and a while does get my spirits up, motivates me and most importantly – allows me to connect with people and fans. However, I do think some organized and isolated studio time is key…at least for me.
You put out 13 releases in a single year. How do you stay inspired and avoid creative burnout?
I avoid writer’s block in a way that some people would consider to be both advantageous and crippling, and that is: if I’m not inspired, I go back to something unfinished or old. Iit is both a realistic and still productive approach on how to maximize creativity without losing an artistic spark. We’re not going to magically be inspired every second of the day – we need life to kick in and let it (inspiration) happen. But I think when things aren’t flowing, go back to something old. Now, there is going way too deep and working on so many aged projects that sound nostalgic, may not resonate with audiences, etc. That is counterproductive both to time management and creativity – the act of always making something fresh or new. When I’m not inspired, I just work on a couple of contemporary projects or older ones that are strong ideas. This allows me to maintain productivity AND can also help source new inspiration, as working on dated projects can bring up new ideas.
Your remix of “Hero” had a clear social message. Do you think electronic music has enough space for storytelling with real meaning?
The answer is yes. I think that there is a huge gap or void of storytelling in the larger genres of electronic and dance music. And when you think of the histories & origins of the two forms of music and how they can resonate with the world we currently live in – culturally, socially and politically – there is so much that can be done.
You’ve been featured on some of the biggest dance music platforms. Was there a moment that made you step back and realize, “Okay, this is real now”?
I think the moment things started to kick in was when I got my first track “Heaven” on radio on My95.9 in Hawaii. It really felt, like, an organic audition moment for the world to hear me; it was always a personal dream for me to be on there and I thought it was gonna happen even later. So to have that was a groundbreaking moment. And what made it special was a friend from elementary school living in Oahu got to video-record and share that moment with me. An honorable mention also is getting broadcasted globally on the Discovery Project channel of the EDC Virtual Rave-a-thon in 2020.
A year from now, what’s the dream? Whether it’s a new sound, a festival stage, or something completely unexpected. What’s next?
A dream of mine – and I know this sounds a little more practical – is to cultivate an audience that would allow me to connect with fans outside of California. I have played outside of the state and internationally, but I want to learn how to better navigate the industry and forge my career in a way that I can connect more with people outside of social media into the real world and create moments & experiences for them – which would then allow me to take everything else to the next level.
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Clem Burke, the drummer for Blondie, has died after privately battling cancer. He was 70 years old.
Blondie, the iconic New York City rock band founded by singer Debbie Harry and guitarist Chris Stein in 1974, announced Burke’s passing on social media.
“It is with profound sadness that we relay news of the passing of our beloved friend and bandmate Clem Burke following a private battle with cancer,” wrote the band. “Clem was not just a drummer. He was the heartbeat of Blondie. His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.”
“Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm, and rock solid work ethic touched everyone who had the privilege of knowing him,” Blondie’s statement continues.
Clem Burke played and collaborated with numerous iconic artists, including Eurythmics, the Ramones, Bob Dylan, David Bowie, Iggy Pop, Joan Jett, Bob Geldof, Chequered Past, The Fleshtones, The Romantics, Dramarama, The Adult Net, The Split Squad, The International Swingers, LAMF, Empty Hearts, Slinky Vagabond, and the Go-Go’s.
“His influence and contributions have spanned decades and genres, leaving an indelible mark on every project he was a part of,” said the band. “We extend our deepest condolences to Clem’s family, friends, and fans around the world. His legacy will live on through the tremendous amount of music he created and the countless lives he touched.”
Blondie, best known for hits like “Call Me,” “Heart of Glass,” “Rapture,” and “One Way Or Another,” initially existed from 1974 to 1982. The band reunited in 1997, and their most recent album was 2017’s Pollinator. Naturally, Clem Burke played the drums on the record.
The band’s statement didn’t specify what type of cancer Burke was fighting, or how long it had been since he was diagnosed. “As we navigate this profound loss, we ask for privacy during this difficult time,” they conclude. “Godspeed, Dr. Burke.”
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Pop star Sabrina Carpenter lands in Fortnite for Fortnite Festival Season 8, launching April 8 with loads of in-game cosmetics, jam tracks, and emotes.
Epic Games loves to blur the lines between gaming and music, and Fortnite’s Sabrina Carpenter debut is no exception. Fortnite Festival Season 8 launches on April 8, complete with two Sabrina Carpenter outfits, two new emotes, three jam tracks, and lots of sparkly accessories.
Players can access the main Sabrina Carpenter outfit through the Season 8 Festival Pass Premium Track, which costs 1,400 V-Bucks, or by unlocking it through Fortnite Crew membership. The outfit features a yellow babydoll dress inspired by Sabrina’s “Emails I Can’t Send Tour” wardrobe — a collaboration with Victoria’s Secret and the singer’s stylist, Jared Ellner. A second outfit, a bodysuit, is unlockable as players progress through the Festival Pass.
Yet another version of Sabrina, “Tour-Ready Sabrina Carpenter,” will be available in the Fortnite Item Shop throughout Season 8. This outfit offers high fashion with “edgier” details, giving fans even more variety in showing off their love for the star.
Gear includes the SC Electric Guitar and SC Sparkly Guitar, both of which have unlockable styles. There’s a mic-themed backbling, custom contrails that leave a shimmer when characters skydive, and signature jam tracks, including “Nonsense,” “Feather,” and “Please Please Please.” These items, as well as the Tour-Ready outfit and accessories, can be purchased starting on April 9.
Sabrina herself called her Fortnite persona “shockingly accurate,” as the avatar is noticeably “short and sweet” in stature, just like the pop star. While some devoted Fortnite fans have been critical of just how many musicians the game has added, even more fans are thrilled at the variety of releases. Many fans on social media have admitted to downloading Fortnite this week just to be ready to play as Sabrina.
The entire Sabrina Carpenter collection launches on April 9, just a day after the official Season 8 launch.
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Through ‘What Is Real,’ Chewna crafts a soundscape energised by a pounding beat and infectious layers of sound; from the catchy vocal hook to the interwoven synth lines, the track unfolds into a considerately paced production, moving through detailed arrangements and evolving breakdowns that keep the momentum pushing forward. The stuttering lead, coupled with the prominent low-end foundation, acts as the driving force to ‘What Is Real,’ guiding the track’s progression as the female vocal maintains a steady presence, adding a refreshing dynamic to the soundscape. As the track delivers a measured balance between tight grooves and melodic nuance, ‘What Is Real’ emerges as a showcase of Chewna’s creative direction, setting the tone for what’s to come in his evolving journey.
In his two-track EP, the Afro House influence rooted in Chewna’s approach shines through; with the percussive elements weaving to create a pulsing foundation in both ‘Infinity’ and ‘Running,’ the collection brings a cohesive sound while allowing each track to carry its own refreshing energy and distinct sonic identity. As vocal lines intertwine with powerful motifs, groove-driven basslines and dynamic textures, Chewna crafts a rich, rhythmically complex tapestry of sound through his ‘Infinity’ EP, creating music that feels immersive, poised to pull listeners into its engaging flow and resonant sound.
With experience behind the decks, Chewna’s approach towards music production sees him craft tracks built for the dancefloors of his performances, fusing rhythmic precision with hypnotic sonic details. As he puts forward new music, the Producer and DJ aims to forge his own path within the Electronic Music scene, striking out with a determined work ethic and passionate drive to share his sound with the community.
Make sure to keep Chewna on your radar by following him across social media today.
‘What Is Real’ and ‘Infinity’ are out now via Marked Music and available to stream and download across major platforms.
Listen and Buy ‘What Is Real’ Here:
https://www.beatport.com/release/what-is-real/5019528
Listen and Buy ‘Infinity’ Here:
https://www.beatport.com/release/infinity/4973280
Chewna Online
Beatport | Soundcloud | Instagram
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Festival attendees can look forward to a weekend of exceptional DJ talent amidst pleasant aromas from the California Redwoods on the Eel River. In addition to cannabis and wellness enthusiasts, community members from all walks of life will gather to enjoy the stellar offerings presented by this brand new collaborative festival. For those interested in attending, view the official artist lineup below and browse available ticket options here.
The post Dirtybird Campout and Northern Nights slate JUNGLE, Zeds Dead, Aluna and others for upcoming joint festival appeared first on Dancing Astronaut.
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EDMTunes, our brand, includes both “Dance” and “Tunes” in its name. For that reason, it should come as no surprise that we have a sweet tooth for anything that makes us get out of our chairs and move about. And we’ve stumbled across something that’s right down our alley: check out the latest from Tony y Not.
German spinner and music producer Tony y Not is carving a space for her, with a signature, often daring mix of House, Disco, and Acid Techno. Growing to be a global artist-to-watch in a short period of time, she’s graced the decks at some of the world’s most notable spots, including ADE, Brooklyn Mirage, fabric, Fusion Festival, and Hï.
Have You Lost Your Mind?
Tony y Not’s latest release goes right in line with the sound many know her for: minimalistic, yet full of life. Have You Lost Your Mind? is the name of the title track — from which the EP bears its name — of a double A sider of House goodies. Both tunes showcase artistic evolution and innovative outlook, coming from the young artist.
Ethereal, floaty, yet also highly groovy, the title track shines with a clean sound that pairs the best Disco one-hits, tons of subtle 303s, and seventh-House short plucks that can only add to the spiky percussion lines underneath. Look, I don’t tend to play this kind of House, but I’m stealing it to sneak it in the middle of my more energetic Prog House sets. It’s just so good.
While on the flipside, lies the classic-sounding ‘Deep Don’t Stop’. This is machine-programmed bliss. Drum machine percussion, placed in such a way that it fills the space enough while still leaving room to breathe, and for little core elements to take centre stage, such as the “Deep don’t stop” sample I’m sure all of us are familiar with, at least to a degree. Lovely.
Listen to Tony y Not‘s brand-new Have You Lost Your Mind? EP, by hitting the ‘Play‘ button on the Spotify player below. Also, click here to support the release on your platform of choice. Be sure to follow our page to stay up to date on the latest news and views regarding our beloved Dance music industry.
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Coachella Valley Music and Arts Festival is right around the corner, and tickets are still available — some for less than face value.
The annual Coachella festival is almost here, and would-be attendees still have opportunities to snag tickets. Like last year, tickets for the 2025 edition haven’t sold quickly, and tickets for Weekend 2 are still available at the time of writing.
In previous years, tickets for both weekends sold out within hours or sometimes days. If you’re still hoping to get tickets, you might even be able to secure them for less than face value. Resellers on StubHub and Vivid Seats have been offering some passes for as little as half of the original price, but those offers were snapped up quickly.
Coachella 2025 takes place over two weekends: April 11 to 13, and April 18 to 20. Original tickets are sold per weekend, but some verified resellers have day passes available for both. Standard original general admission tickets started at $649 for Weekend 1 and are still available starting at $599 for Weekend 2. On StubHub, resale tickets have gone for as little as $246, while Vivid Seats runs quite a bit steeper, starting at $724.
Original VIP tickets are still available for both weekends, with packages starting at $1,399 for the first weekend and $1,199 for the second. Camping passes and parking passes are still available on Coachella’s website and from verified resellers, though the official site offers more options for these and other add-ons, such as shuttle passes and locker access.
This year, Lady Gaga, Green Day, Post Malone, and Travis Scott headline the festival. Other scheduled performances include Missy Elliott, GloRilla, Charli XCX, Misfits, T-Pain, Jimmy Eat World, Megan Thee Stallion, Lisa, Jennie, Beabadoobee, and many more. Last-minute additions to the lineup include Ed Sheeran and Weezer, since several artists (FKA twigs, Anitta, Gel) were forced to back out due to various circumstances.
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‘Dance Of The Desert’
‘Dance Of The Desert’ follows her recent massive hit ‘Holding Back’ on Three Six Zero Recordings, championed by BBC Radio royalty. Pete Tong, Danny Howard, and Sarah Story all praised the track. Moreover, it was an Arielle Free “Big Whoppa”. Such accolades are incessant these days, as her hot mix of melodic cuts, acid-laced jams, and hypnotic heaters with that signature Azzecca edge become cosmic in more ways than one.
The track is a mystical explosion. The stuttering vocals, alongside the funky string arrangements, boost the groove to its maximum potential. The upbeat percussion and the overall sense of heat in the track give it a special sound. That is quintessential Azzecca, a sound that we love and look forward to even more now.
COSIMEA
Azzecca’s events focus on inclusivity, creating a safe space for all communities to party. Cosimea will tour the US this year after launching at Spybar last year, including The Ruins, NYC (18 July, lineup TBA), Space 550, SF (7 June w. Kim Ann Foxman, AIDA), It’ll Do Dallas (19 July w. Alinka, Red Eye) and TV Lounge Detroit. Previous artists that participated in the event include salute, X CLUB., Annicka, Jayah, and Shaun J. Wright.
Get lost in the desert with us.
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Tracklist Overview
The Ask That God (Remixes) album features some of our favorite producers, including Solomun, Vintage Culture, DJ Tennis, Adam Ten, LP Giobbi, and TELYKAST. In Summary, Solomun’s remix of ‘Television‘ applies his signature techno flair, transforming the track with dramatic tension and Solomun’s classic groove. Brazilian powerhouse Vintage Culture takes on ‘Cherry Blossom,’ adding his dance-strong rhythms. Adam Ten’s remix of ‘Music On The Radio‘ reimagines the original with a deep warehouse vibe, while LP Giobbi’s rework of ‘Happy Like You‘ adds immense energy to the lineup. Altogether, these remixes add depth to Empire Of The Sun’s already complex sound and provide a fresh listening experience for live acts and fans.
1. Changes (DJ Tennis Remix) 2. Cherry Blossom (Vintage Culture Remix) 3. Music On The Radio (Adam Ten Remix) 4. The Feeling You Get (TELYKAST Remix) 5. Television (Solomun Remix) 6. Happy Like You (LP Giobbi Remix) Empire Of The Sun’s Luke Steele & Nick Littlemore: Pioneers in Electronic Music
Empire Of The Sun, the Australian electronic duo made up of Luke Steele and Nick Littlemore, have revolutionized the global music scene with their mesmerizing and laid-back sound. Known for their captivating stage performances and visionary music, the duo has released a series of successful albums such as “Walking on a Dream“, “Ice On The Dune“, and “Two Vines“, which blend alternative electronica with pop sensibilities. Their unforgettable music videos, combined with a focus on cinematic visuals, have cemented their place as one of the most innovative acts in modern electronic music. Learn more about their tour dates next.
Upcoming Tour Dates for Empire Of The Sun
Empire Of The Sun continues their global tour in 2025, with performances across the U.S. and Europe. Their tour includes performances at iconic venues such as The Fillmore in Detroit, The Greek Theatre in Berkeley, and the Just Like Heaven Festival at the Rose Bowl in Pasadena. They are also slated for several dates across Europe, with shows in cities like Lisbon, Madrid, and London. As the duo continues to enchant audiences with their visually immersive shows and expertly crafted music, their U.S. and European tour promises to be an unforgettable experience. Don’t miss the opportunity to see them live during this exciting leg of their 2025 tour. Tour dates in bold are newly added locations and dates.
EOTS U.S Tour Dates and Locations
April 4 – Sports Palace // Mexico City, MX – SOLD OUT April 5 – Sports Palace // Mexico City, MX – SOLD OUT April 23 – The Fillmore // Detroit, MI April 24 – Radius // Chicago, IL – SOLD OUT, Limited VIP Left! April 26 – Saint Louis Park // St. Louis, MO April 28 – Red Rocks Amphitheatre // Morrison, CO – SOLD OUT, Limited VIP Left! April 30 – WaMu Theater // Seattle, WA – SOLD OUT, Limited VIP Left! May 1 – Cuthbert Amphitheater // Eugene, OR May 3 – Greek Theatre // Berkeley, CA – SOLD OUT, Limited VIP Left! May 4 – Channel 24 // Sacramento, CA May 8 – Cercle Odyssey //Los Angeles, CA May 10 – Just Like Heaven // Pasadena, CA May 11 – The Pearl // Las Vegas, NV – SOLD OUT, Limited VIP Left! May 14 – Moody Amphitheatre // Austin, TX – SOLD OUT, Limited VIP Left! May 15 – South Side Ballroom // Dallas, TX – SOLD OUT, Limited VIP Left! May 16 – 713 Music Hall // Houston, TX – SOLD OUT, Limited VIP Left! May 18 – Coca-Cola Roxy // Atlanta, GA – SOLD OUT, Limited VIP Left! May 20 – The Fillmore // Philadelphia, PA- SOLD OUT, Limited VIP Left! May 21 – Brooklyn Mirage // Brooklyn, NY May 23 – The Anthem // Washington, DC – SOLD OUT, Limited VIP Left! May 24 – MGM Music Hall at Fenway // Boston, MA – SOLD OUT, Limited VIP Left! EOTS Europe Tour Dates and Locations
July 23 – Campo Pequeno // Lisbon, Portugal July 24 – Noches del Botánico // Madrid, Spain July 26 – Low Festival // Benidorm, Spain July 27 – Poble Espanyol // Barcelona, Spain July 29 – Carroponte // Milan, Italy July 31 – 013 // Tiburg, Netherlands August 2 – On The Thames (Old Royal Naval College) // London, UK August 4 – Palladium // Cologne, Germany August 5 – Zenith // Munich, Germany August 6 – Sziget Festival // Budapest, Hungary August 8 – Grape Festival // Piestany, Slovakia August 10 – Summer Well // Buftea, Romania August 13 – Krizanke // Ljubljana, Slovenia August 14 – Area 7 // Prague, Czech Republic August 15 – Bittersweet Festival // Poznan, Poland August 17 – Uber Eats Music Hall // Berlin, Germany August 19 – Cirque Royale // Brussels, Belgium August 20 – Cirque Royale // Brussels, Belgium August 22 – Rock En Seine // Paris, France August 23 – Zurich Open Air // Zurich, Switzerland August 27 – Black Sea Arena // Shekvetili, Georgia August 30 – Bonus Parkorman // Istanbul, Turkey Tour Tickets
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‘Work’
Anyma’s ‘Work’ starts with a classic Anyma electro synth that is quickly emphasized with a heavy drum groove, bass synth, and Yeat’s powerful low vocals. Altogether, these elements build up to a drop that consists of a bass-heavy rhythm and “work” chorus. The vocals in this drop radiate space with beautifully constructed reverb and mixing techniques. After, a spacious breakdown fills the track and gives listeners an easy pallet cleanser before the last drop. In the end, the final drop carries similar energy to the first and adds a melodic and arpeggiated synth.
Anyma’s New Album “The End of Genesys“
In the wake of Anyma’s 12-date residency at The Sphere, the first electronic residency at the venue, he is releasing single after single leading up to his new album, “The End of Genesys.” This new discography features collaborations with artists such as Grimes, FKA Twigs, 070 Shake, Luke Steele of Empire of the Sun, and more. Already, ‘Angel In The Dark,’ ‘Hypnotized‘ with Ellie Goulding, ‘Voices In My Head‘ with Argy and Son of Son, and ‘Neverland‘ with Baset are out and ready for your ears. Collectively, this whole album will be released on May 23rd, 2025.
Official Visualiser Music Video
The amount of work Anyma puts into each release is not limited to his musical production. Each track usually receives a visual identity as well for his notable live performances. For Example, ‘Welcome To The Opera‘ by Anyma and Grimes has a special visual where Anyma’s Cyborg takes on the identity of Grimes who is trying to get out of the glass box it seems to be trapped in. Now, ‘Work’ has its own visual sensation as well and is already on YouTube. The single scene video radiates the darker energy the new Anyma single brings to his tracklist. The camera circles rapper Yeat and Anyma back to back with intriguing movements and facial expressions. Also, ‘Yeat’ adds an exceptional twist by wearing a dune-like regulator.
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Genre-bending electronic music artist Subtronics is gearing up for an exciting new chapter by announcing his latest EP, Fibonacci Part 1: Oblivion. The EP has arrived on April 4, 2025, through Cyclops Recordings. He shared this news at Miami’s Ultra Music Festival after an electrifying performance on March 28th, giving fans a sneak peek of several tracks, including the powerful ‘Final Breath’ featuring A Little Sound.
Subtronics is releasing the EP in two parts, with eight tracks in Part 1 designed to connect with fans during live shows, while Part 2 will offer a different listening experience. Continuing his exploration of mathematical themes from his previous albums, FRACTALS from 2022 and TESSARACT from last year, Subtronics uses the Fibonacci sequence as a metaphor throughout his work, with ‘Oblivion’ marking the beginning of a broader narrative.
Subtronics describes the production process behind the Fibonacci Part 1: Oblivion EP
Subtronics explains, “Part 1 of the EP conveys that all of reality, in its complexity and grandeur, originates from nature and the fundamental laws of the universe. It emphasizes the Fibonacci sequence and golden ratio as intrinsic patterns that govern nature, not through divine intervention, but through physics. Building on themes of alternate dimensions and fractals, the Fibonacci spiral is presented as the foundational DNA of reality.”
Fans can catch Subtronics during his Las Vegas residency with Wynn Nightlife and at his fifth annual Cyclops Rocks event at Red Rocks Amphitheatre. As 2025 unfolds, he will headline major festivals around the world and expand his popular Cyclops event series. It’s a journey that promises to bring us all together through the power of music.
Upcoming tour dates
Fri, Apr 4 – Blackbox – Charlotte, NC Sat, Apr 5 – Blackbox – Charlotte, NC Thu, Apr 24 – Red Rocks Amphitheatre – Morrison, CO Fri, Apr 25 – Red Rocks Amphitheatre – Morrison, CO Sat, Apr 26 – Ubbi Dubbi Festival 2025 – Fort Worth, TX Fri, May 16 — EBC at Night – Las Vegas, NV Sat, May 24 — EBC at Night – Las Vegas, NV Sun, May 25 – Buena Vista Lake – Bakersfield, CA Sun, June 1 – Project GLOW 2025 – Washington, DC Sat, Jun 7 – Beyond Wonderland Chicago 2025 – Chicago, IL Fri, Jun 13 – The Great Saltair – Magna, UT Sat, Jun 14 – The Great Saltair – Magna, UT Fri, Jun 20 – Escapade – Ottawa South, Canada Sat, Jun 21 – EBC at Night – Las Vegas, NV Sun, Jun 22 – Beyond Wonderland at the Gorge 2025 – Quincy, WA Sat, Jul 5 – FVDED In The Park 2025 – Surrey, Canada Sun, Jul 6 — EBC at Night – Las Vegas, NV Thu, Jul 24 – 9PM Music Venue – Houston, TX Fri, Jul 25 – 9PM Music Venue – Houston, TX Thu, Jul 31 – The Brooklyn Mirage – Brooklyn, NY Fri, Aug 1 – The Brooklyn Mirage – Brooklyn, NY The post Subtronics Provides Musical Euphoria In New EP, Fibonacci Part 1: Oblivion appeared first on EDMTunes.
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‘Seventeen’
Yet another beautiful, melodic track from Joris Voorn’s upcoming album, ‘Seventeen’ is a collaboration with Finnish label Odd One Out boss YOTTO. Since their unforgettable back-to-back performance at Tomorrowland 2024, Joris and YOTTO have been inspired to craft a piece that embodies their extraordinary chemistry. Joris masterfully immerses listeners in melodic techno and evocative soundscapes, as brought out in tracks like ‘Ringo’ or ‘Dark Science.’ In ‘Seventeen,’ his signature touch is evident through rich, layered atmospherics. It has lush pads and intricate textures that create a cinematic and nostalgic ambiance. His skillful progression is compelling; the way the track gradually accumulates emotional depth mirrors his adept handling of tension and release in his solo work. The melancholic melodies resonate deeply, embodying classic Voorn, especially as their chords tug at the heartstrings.
YOTTO complements this with his distinctive deep, groove heavy style. It has imbued with an understated intensity evident in tracks like ‘The Owls,’ ‘Nova,’ or ‘Walls’. In this collaboration, the low end and rhythmic groove exhibit YOTTO’s masterful finesse. This has warm, rolling basslines that propel the track forward without overwhelming it. His expert use of space and dynamics ensures an immersive yet danceable experience. The clean, emotive drop—characteristic of YOTTO’s work—serves as a powerful anchor, driving the track’s energy.
What truly sets this collaboration apart is the way Joris and YOTTO unite their strengths; it transcends a simple mash-up. It feels like a compelling narrative that both artists are sharing. Joris infuses the track with an introspective and emotive essence, while YOTTO grounds it in a club ready, groove friendly foundation. Harry McVeigh’s vocals from White Lies act as a bridge between these two worlds. It imparts a timeless, dance ballad quality to the composition. Ultimately, this fusion represents a stunning blend of melodic techno and progressive house, infused with an indie heart—a remarkable union of visionary talents.
Joris Voorn’s Upcoming Album
Today, Joris is finalizing his forthcoming fifth artist album, set to make waves with its release on Spectrum/Armada this April. Fans are eagerly awaiting the confirmation of the release date. Following the successful launch of four successful singles ‘You & I,’ portraying the impressive vocals of Nathan Nicholson. The mesmerizing instrumental ‘Horizon’ ; the outstanding collaboration with Pig & Dan featuring LIVI, ‘Been There Before’ . Last his recent partnership with Jan Blomqvist, titled ‘Flora.’ With this album, Joris is poised to further solidify his reputation as a true pioneer of melodic techno and house, enticing audiences with his innovative sound and artistry.
Hope you enjoy ‘Seventeen’ as much as I do. Stay tuned to EDMTunes for all your new music updates.
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Despite the absence of a confirmed deal for TikTok’s U.S. operations, Apple is reportedly keeping the app on its App Store – at least for the time being.
This latest development in the TikTok divestment saga follows strong indications of a sale agreement. Last week, just days ahead of the (already-extended) cutoff for ByteDance to find a buyer for TikTok U.S., VP Vance communicated that a purchase announcement could arrive before the weekend.
However, the situation changed on the heels of the White House’s major tariffs rollout. Soon thereafter, ByteDance (a piece of which belongs to the Chinese government) put the proposed deal on ice; the much-used video platform is undoubtedly factoring into trade and tariff talks.
The twist prompted another extension for the stateside TikTok ban, we reported. Said extension will run well into June – meaning no matter how the episode ultimately plays out, U.S.-based TikTokers won’t lose access overnight.
But what about TikTok’s presence on the App Store and the Play Store? As we learned earlier in the forced-sale fiasco, besides being unavailable to download, TikTok when booted from app marketplaces cannot deliver all-important updates to existing users.
When it comes to the App Store, it looks like TikTok will remain in place during the 75-day extension, Bloomberg reported. Though Apple has yet to comment publicly on the matter, the decision to leave TikTok in place reportedly arrived after AG Pam Bondi provided related legal “assurances.”
Those same assurances presumably reached Google as well; the company also has yet to weigh in on the matter with public remarks, but TikTok is still live on the Play Store.
Of course, in light of (among other things) the above-highlighted trade negotiations between the U.S. and China, it remains to be seen when and whether the TikTok deal will formally wrap. Nevertheless, we previously took an in-depth look at the possible ownership particulars, post-transaction timetable, and more.
In the bigger picture, TikTok’s U.S. fate is irrelevant to many in the music industry – though evidence and logic suggest that some would strongly prefer to see the app remain alive.
Separately, competitors including the revamped Triller, Instagram Reels, Snapchat, and YouTube Shorts are actively looking to capitalize on the TikTok uncertainty. And notably, these varied efforts aren’t confined to the short-form side. (Before the ban topic took center stage, TikTok itself had for a while been embracing longer videos, with YouTube essentially doing the opposite via Shorts.)
To name one current example, YouTube’s upcoming Coachella coverage will livestream performances via Shorts. That refers to “DJ sets” streamed “in your YouTube Shorts feed both weekends,” the platform said of the “vertical livestream.”
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